Q.1. Read the passage and on the basis of your understanding of the passage answer the questions
given below
(12)
1. The painter is now free to paint anything he chooses. There are scarcely any forbidden subjects and today
everybody is prepared to admit that a painting of some fruit can be as important as painting of a hero. The
impressionists did as much as anybody to win this previously Unheard of freedom for the artist. Yet, by the next
generation, painters began to abandon the subject altogether, and began to paint abstract pictures. Today, the
majority of pictures painted are abstract.
2. Is there a connection between these two developments? Has art gone abstract because the artistis embarrassed
by his freedom. Is it that, because he is free to paint anything, he doesn't know what to paint? Apologists for
abstract art often talk of it as the art of maximum freedom. But could this be the freedom of the desert Island? It
would take too long to answer these questions properly. I believe, there is a connection. Many things have
encouraged the development of abstract art. Among them has been the artists' wish to avoid the difficulties of
finding subjects when all subjects are equally possible,
3. I raise the matter now because I want to draw attention to the fact that the painter's choice of a subject is a far
more complicated question than it would at first seem. A subject does not start with what is put in front of the casel
or with something which the painter happens to remember. A subject starts with the painter deciding he would like
for some reason or other he finds it meaningful. A subject begins when the artist
Answers
Answer:
.1. Read the passage and on the basis of your understanding of the passage answer the questions
given below
(12)
1. The painter is now free to paint anything he chooses. There are scarcely any forbidden subjects and today
everybody is prepared to admit that a painting of some fruit can be as important as painting of a hero. The
impressionists did as much as anybody to win this previously Unheard of freedom for the artist. Yet, by the next
generation, painters began to abandon the subject altogether, and began to paint abstract pictures. Today, the
majority of pictures painted are abstract.
2. Is there a connection between these two developments? Has art gone abstract because the artistis embarrassed
by his freedom. Is it that, because he is free to paint anything, he doesn't know what to paint? Apologists for
abstract art often talk of it as the art of maximum freedom. But could this be the freedom of the desert Island? It
would take too long to answer these questions properly. I believe, there is a connection. Many things have
encouraged the development of abstract art. Among them has been the artists' wish to avoid the difficulties of
finding subjects when all subjects are equally possible,
3. I raise the matter now because I want to draw attention to the fact that the painter's choice of a subject is a far
more complicated question than it would at first seem. A subject does not start with what is put in front of the casel
or with something which the painter happens to remember. A subject starts with the painter deciding he would like
for some reason or other he finds it meaningful. A subject begins when the artist
ok